La Mort d'Arthur

So about a year ago, I wrote this suite for flute and string orchestra after reading "La Mort d'Arthur" in English class. The suite originally had three movements, but the third was lost in an unfortunate viral plague. The first movement depicts the battle that Arthur fights before his death, the second depicts his death. The titles are reversed. The faster movement depicts the battle, whilst the slower one depicts the death.

ii.MID

ii.MUS

mort.MID

mort.MUS

I liked the first movement because it was so fast and adventurous, which fits with the theme, but I couldn't help feeling sorry for the performers who would have to play it, especially the flautist. I don't know much about playing the flute, but that part struck me as nearly impossible. That aside, I think you really have something here.

The second (death) movement was, for all its good attributes, too short, and the ending was disappointing. Also, I thought that the harmonies begun around measure 16 would work better if done tremolo, at least for some of the string instruments. I actually preferred the overall sound of this movement to the first movement, but I didn't feel that this one could stand on its own as is.

I was really impressed with the first movement, not so much the 2nd.

Sorry for lack of better feedback.

Well! I thought the ii.mid was excellent! It doesn't seem impossible to play at all! (a little confused about the titles being reversed ... is ii.mid the first movement?) I don't mean this to be an insult but the flute part is quite easy (besides the fact that the player would have to find a way to sneak in a breath somewhere by leaving some notes out) - which of course just means that it's playable and accessible to more people. You use both the string orchestra and the flute quite effectively! This piece is very cinematic - and you know how to use those little ostinati figures quite well without being too repetitive. The piece is quite melodic and carries me through to the end. Are you a string player?

Btw - I noticed that your birthday is coming up in a few days ... HAPPY BIRTHDAY!

Piotr

I agree with the above comments. The first movement seems to have had a lot more thought put into it. Solid enough film sound. The ending however could use a little more drama.

The second movement could be better if you fleshed out the harmonies and orchestration a bit methinks.

Thanks everyone for your comments! The last two days are the busiest in my week, so tomorrow I am going to look at what you had to say in depth and see if I am going to make some changes!

I'm not a string player. I'm an oboist. ;)

I really like this, but as stated there are a few problems. At one point you have the flautist going 9 measures without a breath. Most I have talked to like to see no more than 4 or 5 measures depending on the tempo, But 9???

I am basing this on the midi being opened in sibelius, so you may have not written it that way. But once you let him breathe, I think you have a winner.

very nice! i think that the other commentors have said all......

congrats and keep up!

Heyyy! another oboe joins in! Here are my brutal comments/questions/suggestions. Since the overall piece seems good (it must be, I listened to the entire thing) I'm going to attack the details of this fast movement.

OVERALL

This piece could use some timpani. Needs more markings in the flute. and slur lines. Take more advantage of the full ranges of the instruments, esp. viola, cello. You have neglected the viola.

M. 1 - Flute is fine. Violin seems a bit abrupt. Maybe wait another measure before its entrance? (teeny detail, completely up to what you like.)

M. 7 - I know that the players would like those grace notes in the cello/bass to be written out.

M. 10 - What? Where did everyone go? Definitely too abrupt. I would consider a note leading into that measure. Maybe a C#4 staccato 1/4 note in the flute. Melody might be better suited in the violas.

M. 14 - Here would be an excellent place to start a new accent line in the basses or flute.

M. 21 - Put in a second violin part. When you have a full orchestration, don't leave out measures here and there - it will disrupt the flow of your piece.

M. 22 - This part's a little insane. You repeated the same thing 10 times, literally. First couple times its interesting. after about the 6th time, it gets boring. In the edited version I will show another way to do it.

M. 26 - Feels like you were climbing a mountain and the mountain dissapeared beneath you. Where's everyone at? This needs a lead note from the whole orch.

M. 31 - This melody may be too low for the flute to project well.

M. 37 - Excellent key change. don't change a thing.

M. 40 - Keep at least one continuous note - it will hold the entire thing together. I recommend the bass note. (I added an example part.)

M. 43 - From here on you are basically in the clear. I would change the 32nd notes in the flute into a straight trill.

Final bars: Ending is WAY to abrupt.

Other than that, you're in the clear. Hope this helps. Alex

ii edited.MUS